Faulkner’s first novel, Soldiers
Pay, is about World War I and its aftermath, a war which had
haunted Faulkners imagination as a would-be RAF aviator and
which would continue to reverberate in novels to come.
The Story
The novels central character is Lieutenant
Donald Mahon, a fighter
pilot who was shot down in Europe and is believed dead, but who
mysteriously resurfaces on a train bound for home. He has suffered
a tremendous head wound, leaving a horrible scar where his forehead
should be, and he cannot remember anyone or anything from his previous
life in his hometown, Charlestown,
Georgia.
The other characters gravitate toward Donald.
On the train he meets Joe
Gilligan, an Army private who never got to fight in the war,
and Mrs. Margaret Powers,
whose husband was killed in the war by one of his own troops, both
of whom decide to accompany him home and to take care of him because
of his sorry condition. In Charlestown, Donald’s father, the
Reverend Joseph Mahon,
an Episcopal minister, is surprised to learn he is still alive,
as is Cecily Saunders,
his fiancée, a flapper-type who has begun dating a young man in
town, George Farr. Other
key characters in Charlestown include Emmy,
a servant for Reverend Mahon who is secretly in love with Donald,
and Januarius Jones,
a fellow of Latin at a small college who is fat and satyr-like and
who continuously tries, and fails, to seduce the female characters.
The novel follows Donald’s slow degradation
as spring slowly advances from April into May. All who see Donald,
except his father, agree he is about to die. Cecily, who is stunned
to learn her husband-to-be is still alive, agrees to see him, but
she is shocked by his horrible scar. Eventually, as Donald’s
condition worsens (he becomes blind), he receives his “soldier’s
pay”: Cecily marries George Farr, while Margaret Powers, out
of a sense of sacrifice and perhaps guilt over her own feelings
toward her husband (whom she had intended to leave before she discovered
he had been killed), marries Donald. Shortly thereafter, Donald
dies.
Background
Faulkner wrote Soldiers’ Pay
while living in New Orleans in 1925, but much of the inspiration
for the novel dates back to the time of the war. When the United
States entered the war, Faulkner eagerly tried to join the U.S.
Army as a pilot, but he was turned down because of his small size.
Dismayed but undeterred, he adopted a British persona and joined
the Royal Air Force as a cadet in Canada, but before he could finish
flight training, the war ended, thus robbing Faulkner of the chance
to achieve a hero’s status in the skies over Europe.
His lack of actual combat did not prevent
him from assuming the stance of a war hero when he returned home
to Oxford, however. He told stories of injuries he had sustained,
stories which many assumed were suffered in combat. Faulkner did
little to dissuade such beliefs. In the novel, both Joe
Gilligan and the love-sick Julian
Lowe were soldiers (or would-be soldiers) denied the opportunity
to demonstrate their courage in battle. The character of Donald
Mahon, as a returning war hero who dies from his wounds, serves
as what may have been Faulkner’s unspoken longing. Also in
the novel, one can note the often disparaging portrait of love and
relationships--a pattern Faulkner may have appropriated from his
own abortive romance with Estelle Oldham, whom he had longed to
marry (and eventually would, in 1929) but who had married another
man instead.
At the time he wrote the novel, Faulkner was
living in New Orleans and under the tutelage of acclaimed writer
Sherwood Anderson, whose wife Faulkner had met earlier in a visit
to New York City. In New Orleans, the young Faulkner--who then still
considered himself primarily a poet--began to write sketches and
short pieces which were published in the Double-Dealer
and in the New Orleans Times-Picayune
newspaper. Under Anderson’s advice, Faulkner wrote the manuscript
for Soldiers’ Pay, and Anderson agreed to recommend
it to his publisher, provided he didn’t have to read it.
Structure, Technique, and Criticism
Like many other novels published around this
time, including another first novel by Ernest Hemingway, The
Sun Also Rises (published the same year as Soldiers’
Pay), Faulkner’s first novel attempts to describe the
“lost generation” following World War I. Though Faulkner’s
novel is not nearly as successful a novel as that by Hemingway,
with whom Faulkner would continue a kind of competition throughout
his career, it does offer tantalizing glimpses of his style of writing
which he would begin to perfect with The
Sound and the Fury in 1929.
Some of the early reviews of Soldiers’
Pay found the novel mediocre. Thomas Boyd in The Saturday
Review of Literature called it “an honest but slap-dash”
book with “vague, abnormally behaving characters who waver
uncertainly and fantastically.” Some other critics similarly
dismissed the novel as a minor, derivative post-war novel. Most
reviews, however, were favorable toward the novel. In The New
Statesman, one critic even wrote, “I can remember no first
novel of such magnificent achievement in the last thirty years.”
Certainly the novel is uneven: the opening
chapter, in which “Yaphank” (the nickname for Joe
Gilligan) and other soldiers are raucously drunk aboard a train,
seems to belong to another novel, and similarly, the presence of
Januarius Jones in
the novel provides little more than a persistent comic foil who
provides no real impetus to the main action in the story. Characters
are largely flat and not fully realized: Cecily
Saunders, for instance, flutters through the plot with unclear
motivations and equally cloudy intentions, while the main character
himself, Donald Mahon,
is so far gone mentally that he cannot provide any real anchor for
the disparate assemblage of characters. Stylistically, too, Faulkner
reaches for results that seem, at this stage in his career, beyond
his grasp:
Mahon was asleep on the veranda and the other three sat
beneath the tree on the lawn, watching the sun go down. At last
the reddened edge of the disc was sliced like a cheese by the wistaria-covered
lattice wall and the neutral buds were a pale agitation against
the dead afternoon. Soon the evening star would be there above the
poplar tip, perplexing it, immaculate and ineffable, and the poplar
was vain as a girl darkly in an arrested passionate ecstasy. Half
of the moon was a coin broken palely near the zenith and at the
end of the lawn the first fireflies were like lazily blown sparks
from cool fires. A negro woman passing crooned a religious song,
mellow and passionless and sad.
The result of such passages, as Michael Millgate points out in The
Achievement of William Faulkner, is a tendency in the direction
of artificiality.
Nevertheless, there is the promise of future
greatness in the novel. We can see here an early example of the
structural technique he will use later in such novels as Light
in August and The Hamlet
to give unity to a highly heterogeneous body of material. Also in
the novel is a richness of allusion, an extensive set of symbolic
associations between characters and natural objects and phenomena,
and an insistent reliance upon “unrealistic” narrative
language to give a particular emphasis to the subjects and themes
deemed important by the author; all of these techniques would be
employed later in Faulkner’s fiction.
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